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Damien Hirst, For The Love Of God with Diamond Dust (2007) - Print by Damien Hirst
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Damien Hirst
Damien Hirst, For The Love Of God with Diamond Dust (2007)

2007

About

Artwork Details: "For The Love Of God" (2007), Silkscreen with Diamond dust, Signed and numbered by the artist. Limited Edition of only 1,000 pieces. The framed dimensions measure: 22.5 x 19.5 x 2 in. / 57.2 x 48.7 x 5.1 cm. About the Artwork: The skull entitled "For The Love Of God" is by master contemporary artist, Damien Hirst. The silkscreen and diamond dust print is created in a small edition of only 1,000 pieces, each signed and numbered by the artist. The printing technique of using silkscreen and then adding a layer of diamond dust creates a unique shimmer and visual texture. The piece is framed in a custom black lacquer frame with a subtle sheen matte, creating a luxurious finish to the stunning work. "You don’t like it (death), so you disguise it or you decorate it to make it look like something bearable – to such an extent that it becomes something else.” - Damien Hirst Hirst uses art to change something into something else and thus subvert emotions. His skulls have the capacity to win over death, at least over the temporal, physical and ugly aspect of it: rotting decay.

Details

  • Dimensions
    H 22.5 in. x W 19.2 in.H 57.15 cm x W 48.77 cm
  • Gallery Location
    New York, NY
  • Reference Number
    LU83515210281
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About Damien Hirst (Artist)

British artist Damien Hirst is widely considered the enfant terrible of contemporary art. He is the most prominent of the so-called Young British Artists, or YBAs, a group, largely composed of Hirst’s classmates at Goldsmiths, in London, that began exhibiting together in warehouses and factories after 1988 and is known for the use of unconventional materials and “shock tactics.”


     In the 1990s, Hirst said, “I can’t wait to get into a position to make really bad art and get away with it.” And indeed, he is notorious for piquing critics and baffling the public with such pieces as his signature glass vitrines containing dead sheep or sharks in formaldehyde, and his diamond-encrusted skull, For the Love of God.


     Working primarily in sculpture, Hirst takes after French modernist master Marcel Duchamp in his use of ready-made objects and materials, which he combines to ironic effect. He often creates in series, as with The Cure (Violet) and The Cure (Turquoise), both from 2014, which are among several pill paintings referencing Andy Warhol’s embrace of mass production. Belonging to his ongoing series of “spot” paintings, begun in the 1980s, the 2005 piece Xylene Cyanol Dye Solution is striking for its machinelike, industrial uniformity and almost childlike simplicity, a seeming rebuke to the idea of the artist-as-genius.


     In addition to making art, Hirst has launched stores that sell editioned works (Other Criteria), a restaurant (Pharmacy2) and even his own London museum (Newport Street Gallery).

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